A Companion to the Classical TraditionCraig W. Kallendorf John Wiley & Sons, 2008 M04 15 - 512 páginas A Companion to the Classical Tradition accommodates the pressing need for an up-to-date introduction and overview of the growing field of reception studies.
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Página viii
... Artist's Studio'' from The Last Days ofPompeii, 2001, by Eleanor Antin 389 25.10a, b Antigone's Cave, No. 2, by Andrea Eis 391–2 26.1 26.2 26.3 26.4 26.5 The Temple of Moloch, from A COMPANION TO THE CLASSICAL TRADITION: List of Figures.
... Artist's Studio'' from The Last Days ofPompeii, 2001, by Eleanor Antin 389 25.10a, b Antigone's Cave, No. 2, by Andrea Eis 391–2 26.1 26.2 26.3 26.4 26.5 The Temple of Moloch, from A COMPANION TO THE CLASSICAL TRADITION: List of Figures.
Página 2
... artists) in a two-way process, backwards as well as forwards, in which the present and the past are in dialogue with each other.'' This has profound consequences for how Greece and Rome are understood by later ages. Traditional ...
... artists) in a two-way process, backwards as well as forwards, in which the present and the past are in dialogue with each other.'' This has profound consequences for how Greece and Rome are understood by later ages. Traditional ...
Página 25
... artists not only in manuscript illuminations but also in mosaics, stone sculptures, woodcarvings, ivories, and tapestries. The historical Alexander had Aristotle as his teacher. Their relationship inspired a legend that speaks volumes ...
... artists not only in manuscript illuminations but also in mosaics, stone sculptures, woodcarvings, ivories, and tapestries. The historical Alexander had Aristotle as his teacher. Their relationship inspired a legend that speaks volumes ...
Página 26
... artistic treatment in various media. The exempla about Aristotle and Vergil in the representational arts were not conditioned by any ancient treatments of them, but in many other ways Roman art and architecture exercised influences upon ...
... artistic treatment in various media. The exempla about Aristotle and Vergil in the representational arts were not conditioned by any ancient treatments of them, but in many other ways Roman art and architecture exercised influences upon ...
Página 32
... artist was conscious of historical distance in a way that his medieval predecessor was not. In other words, Mars could be seen as a knight only if the artist saw continuity between past and present. Once it became apparent, however ...
... artist was conscious of historical distance in a way that his medieval predecessor was not. In other words, Mars could be seen as a knight only if the artist saw continuity between past and present. Once it became apparent, however ...
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Términos y frases comunes
Aeneid aesthetic African American ancient Antigone architecture Aristotle Aristotle’s artists Baroque became central-eastern Europe Christian Cicero classical antiquity classical authors classical texts classical tradition contemporary critics culture developed drama early Eclogue eighteenth century empire English epic essay Euripides European example figures French Freud genre German Greece Heaney Homer Horace human humanist Iliad imitation important influence inspired interpretation Italian Italian Fascism Italy Jesuit language later Latin learning literary literature Medea medieval Middle Ages modern moral myth mythology neoclassicism nineteenth century novel Oedipus Ovid Ovid’s Oxford pagan painting period Petrarch philosophical Plato play poem poet poetic poetry political postcolonial prose published reception reception theory Renaissance revival role Rome scholars scholarship schools seventeenth century sixteenth century Sophocles Spain Spanish Standard Edition Stoic story style T. S. Eliot theater themes theory tragedy translation twentieth century University Vela´zquez Vergil vernacular verse writing wrote